Liv McNeil breaks out in behind-the-scenes work with new documentary, The Making of Priscilla

This young Canadian filmmaker shares the raw connection that she and many young females share with Priscilla Presley  

By Nicole Soroka

In the fall of 2022, Priscilla Presley’s story was brought to life on set in Toronto, reimagining the days that the teenage girl lived out with the king of rock ‘n’ roll. However, the stories of young Presley were not the only presence of a young girl on set.

In June 2020, Etobicoke School of the Arts student Liv McNeil posted her short film on YouTube, Numb, highlighting a handful of emotions that high school students faced during the height of the COVID-19 lockdown and online learning. At this time, McNeil was only in the ninth grade and it did not take long for her film to reach a wide audience, quickly proving how much young talent there is to be discovered in Canada. 

McNeil’s immense talent gained the attention of many prominent people in the industry, including Canadian filmmaker Sarah Polley, who later cast McNeil in her 2022 Oscar-winning film, Women Talking. Shortly thereafter, McNeil was once again noticed by a leading female force in the industry, Sofia Coppola, who asked the young filmmaker to join her on her latest project, Priscilla. Coppola approached McNeil about shooting a behind-the-scenes documentary of the film, an opportunity that would continue to open doors for McNeil. 

During the live Q&A at the TIFF Next Wave Canadian premiere of her documentary, The Making of Priscilla, McNeil explained how Coppola brought her onto the project.

“John Buchan is friends with Sofia Coppola and he brought her to the TIFF screening of Women Talking,” said McNeil. “Then Sarah Polley introduces me on stage as Liv McNeil, a young filmmaker, and Sofia goes, ‘Who's that? I'm looking for a young girl to make a behind-the-scenes documentary.’ And then I'm meeting Jacob Elordi.”

The nearly 30-minute film invites viewers onto the set of Priscilla and features interviews with Coppola, Priscilla Presley and lead actress, Cailee Spaeny. They share insights into how Priscilla came to be, how Presley herself felt about the project and the labour of love that went into making the film. 

Additionally, McNeil also connects her own experiences to those of Presley. During the premiere, McNeil explained that she had little to no vision of the documentary’s focus going into her first day on set. She had originally planned to simply narrate what occurred during their 30-day shoot and dig deeper into the film’s evolution. However, seeing the story of Presley’s life unfold in front of her proved that their life experiences may be more intertwined than she realized, creating the perfect storyline for her film. 

“I'm a young girl shooting the behind-the-scenes of a story about another young girl,” said McNeil. “Obviously, very different lives, but there's something to be said about that.”

McNeil continued to elaborate on Spaeny’s thoughts about her title role and regardless of how elaborate her life became, Presley experienced what many women still go through to this day. 

“No matter how big or small the story, whatever Priscilla went through is what a lot of women go through,” said McNeil. “You leave your parents, you grow up, you get married, you have a child, it becomes really human. And you see a girl there instead of an object.”

Expanding on her experience working with Coppola, McNeil shared that the director was with her every step of the way. 

“Every so often she would check in and she would often say, ‘get in there, get in there, you're here for a reason, I want you to be here,’” said McNeil. “Coming from Sofia Coppola I was like, ‘okay, okay, okay, sure, I'll go in, I’ll go in, I'll do whatever you need me to do.’ Then I’d get right in the way and I’d step on people's toes. And it was difficult to do, but I knew I had to do it.”

However, Coppola wasn’t the only person on set who had McNeil’s back. She revealed that her father, who is also a filmmaker, accompanied her during the shooting process. While Coppola, who knows a thing or two about having a father in the industry, urged McNeil to use her own ideas and instincts, McNeil was grateful to have her father by her side.

“I think I would have died on set if it wasn't for him,” said McNeil. “He really really did save my life multiple times.”

McNeil also spoke to CanCulture in an interview and shared some behind-the-scenes secrets that weren’t included in the documentary. One of the key memories that stood out to McNeil occurred at the end of filming and included one adorable dog. 

“Jacob [Elordi’s] dog just took a dump on set,” said McNeil. “There was this piece of fake grass and it was at the end and we were popping champagne and the dog [got] loose and the dog [was] running around and having a good time. She was running around and she just like squats, sits on the fake grass and [Elordi] was like ‘don’t look, don’t look.’” 

McNeil also expanded on how having previous acting experience has helped shape her attitude behind the camera. She explained that she has more empathy for what the actors experience during a shoot, such as when they’re worried or in need of a break, and how she is able to form a meaningful connection with the actors on her projects. 

“All the actors that I work with on my short films are already my friends or they become my friends because I think that's really important to become close with the people that you're intimate with and vulnerable with and making art with,” said McNeil. 

The Making of Priscilla proved just how talented McNeil truly is, at such a young age nonetheless. The questions McNeil asked the cast and crew throughout her on-set interviews revealed her curiosity and eagerness to learn. The documentary also highlighted her tenacity and willingness to push outside her comfort zone. 

The connections that McNeil made between Presley’s young life and her own personal experiences are nothing short of genius. By taking a public figure and highlighting the parts of her life that many women may be able to relate to on some scale is humanizing and a fresh perspective to take in the film industry. I appreciated McNeil’s ability to take what I found to be the best scenes in Priscilla and dive into the emotional aspects the cast went through while filming them, as well as showcase some of the conversations that Coppola and Presley shared prior to/during the filmmaking process. 

As McNeil continues her studies in film at Concordia University, audiences will have to wait and see what is next for this inspiring Canadian filmmaker. As a first year university student, McNeil has already had the opportunity to work on a film set for one of the most anticipated films from 2023. Even more, this filmmaker is bringing a great deal of pride to Canada by showcasing how much this country has to offer to the film industry. 

 The Making of Priscilla is currently available for viewing through Elevation Pictures on Youtube and in the United States through the A24 app

The Beaches rock Massey Hall in sold-out hometown show

After “Blame Brett” went viral on TikTok, Toronto’s own indie rock band returns cooler than ever.

By Isabella Soares

Band playing on stage

The Beaches performing at Massey Hall on Nov. 1, 2023 (Isabella Soares/CanCulture)

The Beaches have come a long way from playing smaller venues such as The Opera House and The Danforth Music Hall. The band originally named Done With Dolls is now formed by sisters Jordan (vocals) and Kylie Miller (lead guitar, backing vocals), Leandra Earl (keyboards, guitar, backing vocals), and Eliza Enman-McDaniel (drums). The indie rock group has two Junos up their sleeves for Breakthrough Artist in 2018 and Rock Album of the Year in 2022. Although the two awards are major achievements, the successful turnaround of post-breakup anthem “Blame Brett” is their greatest accomplishment thus far. The lead single to the band’s latest album, Blame My Ex, has blown up on TikTok and has accumulated more than 21 million streams on Spotify, getting the attention of Nelly Furtado and the Jonas Brothers. After performing in the U.S., The Beaches returned to Toronto playing two sold-out shows at Massey Hall. 

The first of their two concerts had the band jamming on stage, exuding cool and carefree energy throughout their 20-song setlist. Like their catchy album, the indie-rock group seemed like they were in their comfort zone, playing for fans who have known them for more time than the rest of the world and with their family cheering in the crowd. 

As the cheeky banger “Kismet” began to play, Jordan Millerlet loose, dancing and playing around with her white sunglasses and silk dress. The song eased into a set that combined tracks from Blame My Ex and their early hits, including “T-Shirt” and “Desdemona.” 

Although all of the songs were engaging live, there were a few that stuck out as most crowd-pleasing. The first being “My Body ft. Your Lips”, featuring a guest appearance from Beach Weather's frontman Nick Santino singing and flirting with the lead singer on stage. The performance was chemistry-filled and had the audience blushing, almost forgetting that most of the follow-up anthems are about heartbreak and angst.

It is important to note that Santino had come on stage prior to the show with his band to open for The Beaches, which allowed the audience to familiarize themselves with Beach Weather’s groovy tunes before the electrifying duet.

 Kylie Miller and Earl playing their guitar riff for “Want What You Got” was another highlight. With their backs to each other, the two musicians took centre stage and grooved while Jordan played her bass near Enman-McDaniel’s drum set. At the end of the song, Jordan Miller even told the crowd, “It is so great to play in your hometown.” This particular track from the band’s earlier work showcased their signature sound, with catchy indie guitar parts and bold vocal delivery similar to bands like Franz Ferdinand. Despite their latest tunes still holding onto to the group’s sonoric style, they have adopted more of a pop approach with short verses and anthemic choruses. 

While there were a lot of rock’n’roll moments (with Earl even getting underwear thrown her way), there were also some intimate ones. A special shout out to the acoustic version of “If A Tree Falls”, a song off of their new album that was written with Valley's Karah James

Yet, nothing on the setlist prepared the audience for the enthusiasm that filled Massey Hall when “Blame Brett” began to play. Needless to say many people already had the song stuck in their heads throughout the summer, but getting to jump and scream the lyrics at a fan-filled concert was unmatched. 

The band left the stage after the lead single finished, but only for a few minutes until they returned for the encore. Even though the show would’ve already ended on a high note with “Blame Brett”, “Edge of the Earth” and “Money” were an additional treat.

After saying goodbye to the full venue, The Beaches left the crowd in high spirits on an otherwise wet Wednesday evening.

The Toronto band finished their Canadian tour leg on November 13 and will play several sold-out shows in Europe for the rest of the month. 

Canada’s top music video directors

The creators of your favourite visuals 

Photo: Jakob Owens/Unsplash

Photo: Jakob Owens/Unsplash

By Will Lofsky

Since the creation of YouTube, music videos have made artists’ careers. Canada has played a pivotal role in the rapidly changing mainstream visual marketplace. Here is a list of some of the top music video directors in Canada. 

One of Toronto’s most famous directors, Zac Facts, has worked with some of Canada’s hottest artists such as The Weeknd, Jessie Reyez, Tory Lanez, NAV, 88Glam, Belly and Sean Leon. 

Known for his dark and raw style, Facts has worked with Tory Lanez for most of his career, elevating his online presence before Lanez hit the global mainstream with one of his biggest records to date, “LUV.” 

The visual for the very catchy dancehall track captures the beauty of America’s deserts and the joy of rich house parties in mansions. With dark clouds, a plot where Lanez gets manipulated and left alone by the end of the video and beautiful car rides down open, winding roads, Facts’ approach to visual storytelling shines through and through. 

Video: Tory Lanez via YouTube

Facts’ visual treatment for Future’s hit record, “Low Life” featuring The Weeknd is mostly shot indoors in a grimy abandoned building with beautiful women and an antique piano with spotlights falling perfectly on the artists for an intimate up close and personal performance. 

Future’s classic aesthetic of dark sunglasses, designer bandanas and flooded chains and The Weeknd’s iconic haircut prior to his album, Starboy, truly capture a moment in time that can no longer be emulated. 

Video: Future via YouTube

Up-and-coming director, editor, and videographer, Marcus Letts, has worked with Anders, Ca$tro Guapo from CMDWN, Yung Tory, Dutch Revz, TRIPSIXX, and more. 

With a similar aesthetic to the work of Cole Bennett and Lonewolf, Letts has brought the new school highly edited, fast cut style to Toronto in a short period of time. 

Letts edited the Worldstar exclusive music video of one of Yung Tory’s biggest records, “Friends,” a remix of Marshmello and Anne-Marie’s global hit of the same name. Letts has worked on 16 of Tory’s released visuals since 2018 and also went on tour with him.

Video: WORLDSTARHIPHOP via YouTube

Toronto’s own Karena Evans, at only 24 years old, is becoming one of the most sought-after directors in the world. Evans worked on the music videos for Drake’s biggest singles off of his most recent studio full-length album, Scorpion.

The videos for “God’s Plan,” “In My Feelings,” and “Nice For What” have hundreds of millions of views, with “God’s Plan” leading the pack with over 1.1 billion streams. 

Evans’ visual treatments are rich and colourful which compliment the upbeat, positive three hit records. 

Each of the videos has a meticulously clear script, with “God’s Plan” showing Drake doing positive things for people in need, “Nice For What” paying homage to some of the most influential women in the world right now and “In My Feelings” pulling audiences into a comical love story full of quotable lines. 

Video: Drake via YouTube

Michael Maxxis is an Edmonton director that has worked with Alexisonfire, City and Colour, Kygo, Sum 41, Elle King, and Billy Talent. Maxxis’ music videos are all very aesthetically different. 

The visual for “Ex’s and Oh’s” by Elle King is bright, colourful, and full of life, while the picture for City and Colour’s record “Fragile Bird” is dark, sad, and uses film versus the Hollywood-quality high-resolution take on King’s song. 

Maxxis’ treatment for Billy Talent’s “Saint Veronika” is both intense and disturbing, centred around a book called Veronica Decides to Die in which the Slovenian protagonist attempts to kill herself and gets locked up in a mental hospital. The claustrophobic hall shots, dark colour grading, and interesting creepy take on characters with sewed-on faces take the plot to the next level. 

Video: Billy Talent via YouTube

Yassin ‘Narcy’ Alsalman is a professor, director, musician, journalist and producer. Narcy teaches one of the only hip hop courses in Canada at Concordia University and has worked with Talib Kweli, A Tribe Called Red, Anderson.Paak, Jay Electronica, and Yasiin Bey, also known as Mos Def.

Narcy performed in and directed the music video for A Tribe Called Red’s track “R.E.D” featuring Narcy and Bey off their third album, We Are the Halluci Nation. The video, shot in Sudan, is a vibrant and colourful picture with scenes in the desert and downtown. 

A powerful picture, the visual has intermittent moments discussing the Halluci Nation and slow-motion segments with Narcy and Bey joking around and having a blast. 

Video: A Tribe Called Red via YouTube

While there are many phenomenal Canadian directors to list all in one piece, these five creators stand out across all genres of music with their own trademark aesthetics.